Transcript: A Woman of Means
by DebbieB
Summary: For film class, Dillon is assigned to make a 20 minute documentary about an influential person in his life. His subject? TracyQ. A telling slice of life, done in script format.


**FINAL ASSIGNMENT  
****FILM PRODUCTION 120  
****PORT CHARLES UNIVERSITY**

Each student will complete a 20 minute short-subject documentary to be presented to the class during the final examination period. The subject of the documentary must be an influential person in the filmmaker's life; you **must** know this person, and document actual events in their daily life. The film must use **all aspects **of filmmaking covered in the class, and must contain the elements listed on the attached check sheet.

Filmmakers must provide written proof of consent for all copyrighted visual and audio materials used in their films. The consent notifications shall be attached to the written documentary transcript (see attached for format and content requirements) to be turned in at the time of presentation.

All persons appearing in the films must complete a written consent form, which the filmmaker will also attach to the written transcript.

The purpose of this project is not only to show the student's understanding of the filmmaking process, but to test the storytelling ability of the student. While assistance may be used in filming, editing, and transportation of equipment, the filmmaker **must completely document his or her production schedule** (see attached for format and content requirements). The filmmaker must be responsible for no less than 85 of the work on the film.

This project is due May 17, 2006, and is worth 50 percent of the overall grade.

TRANSCRIPT

FRESHMAN FILM PROJECT

BY: DILLON QUARTERMAINE-HORNSBY

TITLE: A WOMAN OF MEANS

GENRE: DOCUMENTARY

RUNNING TIME: 20 MINUTES

MEDIUM: DIGITAL VIDEOGRAPHY

SCRIPT BY DILLON QUARTERMAINE-HORBNSBY

PRODUCED & DIRECTED BY DILLON QUARTERMAINE-HORNSBY

ORIGINAL VIDEOGRAPHY BY DILLON QUARTERMAINE-HORNSBY

ALL FILM AND AUDIO CLIPS USED IN THE PRODUCTION OF THIS

FILM USED WITH PERMISSION OF ORIGINAL

COPYRIGHT HOLDERS

(SEE ATTACHED DOCUMENTATION FOR WRITTEN CONSENT FORMS)

TITLE SCREEN:

A WOMAN OF MEANS:

A FILM BY DILLON QUARTERMAINE-HORNSBY

VISUAL: EXTERIOR SHOT OF QUARTERMAINE MANSION, PORT CHARLES, NEW YORK. THIS CLASSICALLY DESIGNED MANSION IS A FIXTURE IN THE SMALL TOWN OF PORT CHARLES, KNOWN BY LOCAL RESIDENTS AS THE HOME OF THE QUARTERMAINE FAMILY.

AUDIO: "FRIENDSHIP" BY COLE PORTER. LYRICS TO INCLUDE FOLLOWING:

IF YOU'RE EVER IN A JAM, HERE I AM.

IF YOU'RE EVER IN A MESS, SOS

IF YOU EVER GET SO HAPPY YOU LAND IN JAIL,

I'M YOUR BAIL

IT'S FRIENDSHIP, FRIENDSHIP

JUST A PERFECT PLANSHIP

WHEN OTHER FRIENDSHIPS HAVE BEEN FORGOT

OURS WILL STILL BE HOT

MUSIC FADES AS NARRATIVE (**DILLON Q.**) BEGINS. STILL PICTURE FADES TO VIDEO, ZOOM IN ON HOUSE.

DILLON Q.

THIS IS MY HOME. IF YOU'VE EVER BEEN TO TOWN OF PORT CHARLES, NEW YORK, YOU MAY HAVE DRIVEN BY IT. THIS IS NOT HOWEVER, WHERE I GREW UP.

VISUAL: EXTERIOR SHOT OF THE FOUR SEASONS HOTEL IN NYC.

DILLON Q.

THIS IS WHERE I GREW UP, THIS HOTEL AND LOTS LIKE IT. UNTIL I WAS IN JUNIOR HIGH, I TRAVELED WITH MY MOM ALL OVER THE WORLD.

VISUAL: (UNDER FOLLOWING NARRATIVE) FILM CLIPS IN SUCCESSION: THE BRADY BUNCH-FEATURING IMAGES OF FLORENCE HENDERSON AND ROBERT REED; OZZIE AND HARRIET-FEATURING IMAGES OF OZZIE AND HARRIET NELSON; GENERIC 1950S IMAGE OF WHITE MOTHER TUCKING HER LITTLE BOY INTO BED.

DILLON Q.

I'D LIKE TO SAY THIS WAS FAMILY LIFE AS I KNEW IT, BUT THAT WOULD BE A LIE. MY LIFE WAS NOT A SUCCESSION OF WARM TENDER MOMENTS, HOME MADE COOKIES, AND PUPPIES IN THE BACK YARD. BEFORE THE AGE OF TEN, I'D SEEN THREE CONTINENTS, FOURTEEN COUNTRIES, AND A HECK OF A LOT OF HOTEL ROOMS.

VISUAL: WEDDING PICTURE OF **TRACY QUARTERMAINE** AND **PAUL HORSBY**

DILLON Q.

THESE ARE MY FOLKS, CIRCA 1991.

ANIMATION: JAGGED TEAR IN CENTER OF COUPLE, SEPARATING THE PICTURE INTO TWO. THE IMAGE OF **PAUL** DANGLES MOMENTARILY, THEN FALLS O.S.

DILLON Q.

MY DAD DIDN'T STAY AROUND TOO LONG. BY THE TIME I WAS ONE YEAR OLD, HE WAS GONE FROM MY LIFE AND ON TO OTHER THINGS.

VISUAL: PICTURE OF** TRACY QUARTERMAINE.** SHE IS A STRIKING WOMAN IN A BLACK AND WHITE PHOTO TAKEN CIRCA 1975. HER HAIR IS DARK, LIFTED INTO A CLASSIC FRENCH TWIST. SHE IS DRESSED IN A WHITE DEBUTANTE DRESS, WITH DIAMOND NECKLACE, EARRINGS, AND LONG WHITE GLOVES. SHE IS THE CLASSIC UPPER CLASS BEAUTY, BRIMMING WITH POTENTIAL, BREEDING, AND PRIVILEGE.

DILLON Q.

THIS IS MY MOM. TRACY LILA QUARTERMAINE ASHTON WILLIONS HORNSBY SIETO SPENCER, TO BE PRECISE. DAUGHTER OF PRIVILEGE, MOTHER OF TWO, FORCE OF NATURE.

VISUAL: **TRACY QUARTERMAINE**, CURRENT DAY, IN OFFICE OF QUARTERMAINE MANSION. SHE IS DRESSED IN BLACK SLACKS, A BLACK TANK SHELL AND BLUE SILK BLOUSE. SHE IS SEATED AT A MAHOGANY DESK, HER FINGERS TAPPING IMPATIENTLY ON THE DESK CALENDAR.

AUDIO: MUSIC UNDER DIALOGUE: BLEED FOR ME BY SALIVA

TRACY Q.

THAT IS NOT ACCEPTABLE, AND YOU KNOW I'M NOT GOING TO LET YOU SCREW ME ON THIS.

DILLON Q. (V.O.)

NOT EXACTLY CAROL BRADY. BUT FOR ALL HER POWER AND AMBITION, SHE'S STILL MY MOM. AND THIS IS HER STORY--AS TOLD THROUGH THE EYES OF HER YOUNGEST SON.

VISUAL: FOYER OF THE QUARTERMAINE MANSION. **ALICE**, THE HOUSEKEEPER, IS DUSTING. SHE IS A STRONGLY-BUILT WOMAN OF ABOUT 40. SEATED ON THE COUCH ARE **NED QUARTERMAINE**, TRACY'S ELDER SON, AND **DR. ALAN QUARTERMAINE**, TRACY'S BROTHER. **NED** IS A HANDSOME MAN OF ABOUT 40, ELEGANTLY DRESSED AND THE PICTURE OF CORPORATE SUCCESS. **ALAN** IS A DARK-HAIRED MAN OF ABOUT 60, DISTINGUISHED IF SOMEWHAT FADING IN LOOKS.

FADE AUDIO.

NED

SHE'S NOT GOING TO DO IT, UNCLE ALAN. YOU KNOW TRACY; THIS IS JUST ONE OF HER DRAMA QUEEN MOMENTS.

ALAN

SHE IS NOT GOING TO DO IT BECAUSE I'M NOT GOING TO LET HER DO IT. SHE IS GOING TO VOTE WITH THE FAMLY ON THIS MATTER, AND THAT'S ALL THERE IS TO IT.

**ALAN** STANDS, WALKS L. AND POURS DRINK FROM DECANTER ON TABLE. PAN TO **NED**, WHO FROWNS, BUT SAYS NOTHING.

ALAN (CONT.)

SHE IS JUST PLAYING HARD BALL WITH US, AND MONICA AND I ARE NOT GOING TO CAVE THIS TIME.

VISUAL: ENTER **EDWARD QUARTERMAINE**, THE PATRIARCH OF THE QUARTERMAINE CLAN. HE IS A DISTINGUISHED, SILVER HAIRED MAN IN HIS EARLY 70S, TRIM AND HEALTHY LOOKING FOR HIS AGE. HE WEARS A TAILORED BUSINESS SUITS AND CARRIES HIMSELF WITH THE AUTHORITY OF A MAN USED TO HAVING HIS WAY, AT ALL COSTS.

DILLON Q. (V.O.)

THIS IS MY FAMILY, WELL PART OF THEM, ANYWAY. THE HANDSOME LOOKING GUY IS MY HALF-BROTHER, NED ASHTON. NED IS THE PRODUCT OF MOM'S FIRST MARRIAGE TO LORD LAWRENCE ASHTON, A NO-GOOD, TWO-TIMING BRITISH SO-AND-SO WHO LIKED HIS WOMEN YOUNG AND HIS ALCOHOL OLD. OR SO MY MOM SAID. THE GUY HITTING THE SCOTCH IS MY UNCLE ALAN, THE WELL RESPECTED CHIEF OF STAFF AT PORT CHARLES' GENERAL HOSPITAL. THE GUY WHO JUST WALKED IN . . . WELL, THAT'S MY GRANDFATHER QUARTERMAINE.

EDWARD

IS SHE HERE YET?

NED

NOT YET. SHE'S LETTING US STEW.

ALAN

SHE'S PUSHING HER LUCK.

EDWARD

I WON'T LET HER GET AWAY WITH IT. TRACY HAS DONE SOME DESPICABLE THINGS IN HER TIME, BUT I DRAW THE LINE AT THIS.

VISUAL: PAN TO SHOW **DILLON QUARTERMAINE**, A 20-SOMETHING STUDENT WITH SPIKY HAIR AND CHUBBY FACE.

DILLON Q.

A TYPICAL DAY IN MY HOUSE. FUN, HUH? BUT LET'S GO BACK A FEW YEARS.

VISUAL: HOME MOVIES, PROVENCE, FRANCE. **TRACY** IS WALKING ALONG THE GROUNDS OF A FRENCH CHATEAU, HER HAIR LONG AND UPSWEPT. **DILLON**, AGE 9, IS WALKING WITH HER.

DILLON Q. (V.O.)

WE DIDN'T ALWAYS LIVE WITH MY MOM'S FAMILY. AFTER DAD HIT THE ROAD, MOM DID HER BEST TO KEEP ME WITH HER. THAT MEANT A LOT OF TRAVELING FOR ME. MOM WAS RAISED TO BE WEALTHY, AND UNFORTUNATELY, BEING WEALTHY TOOK WORK.

VISUAL: PRESENT DAY **TRACY** IS SEATED ON THE COUCH, HOLDING A GLASS OF WINE, LOOKING OVER FINANCIAL REPORTS. THROUGH A WINDOW L. WE CAN SEE IT IS LATE NIGHT. THE ROOM IS AT 3/4 ILLUMINATION, AND SHE LOOKS TIRED. SHE IS WEARING A HEAD-SET PHONE.

AUDIO: THIS WOMAN'S WORK BY KATE BUSH

TRACY

FOURTH QUARTER REPORTS ARE NOT WHAT THEY SHOULD BE, JUSTUS. YOU KNOW WHAT DADDY'S PLANNING IS GOING TO RISK SIGNIFICANT LOSSES . . .

FADE AUDIO

DILLON Q. (V.O.)

IF MY MOM HAD BEEN BORN A MAN, SHE'D BE CHAIRMAN OF THE BOARD BY NOW. AS A WOMAN, THOUGH, SHE'S GOT TO FIGHT FOR EVERY INCH SHE'S GOT. BUT WE'LL GET TO THAT LATER.

VISUAL: THE QUARTERMAINE BOAT HOUSE, WHERE A PARTY IS CURRENTLY IN FULL SWING. SEVERAL MEMBERS OF PORT CHARLES' ELITE ARE THERE, IN FORMAL DRESS, FOR A CHARITY EVENT SPONSORED BY **TRACY** AND **DR. MONICA QUARTERMAINE**.

AUDIO: PARTY BAND PLAYING "STRANGERS IN THE NIGHT"

DILLON Q. (V.O.)

PARTIES LIKE THIS ARE NOT UNUSUAL AT CASA DEL QUARTERMAINE. FUND-RAISING IS SOMETHING MY MOM IS REALLY GOOD AT. IN FACT, THERE ARE PEOPLE OUT THERE WHO'D SWEAR IT'S HER LIFE BLOOD.

TRACY (TO CAMERA)

DILLON, TAKE THAT THING AWAY. I DO NOT WANT YOU INTIMIDATING MY GUESTS WITH YOUR LITTLE MOVIE. BESIDES, YOU HAVE TO GET RELEASES TO USE THEIR IMAGES, AND I'M NOT SURE THAT'S . . .

VISUAL: CAMERA PANS AWAY FROM **TRACY**, ZOOM IN ON **LUKE SPENCER.**

DILLON Q. (V.O.)

THIS IS LUKE, MY MOM'S CURRENT HUSBAND. I WON'T GO INTO THE DETAILS OF THEIR MARRIAGE, BECAUSE THIS IS A DOCUMENTARY AND YOU WOULDN'T BELIEVE ME ANYWAY. LUKE AND MY MOM HAVE A VERY SPECIAL RELATIONSHIP.

LUKE (TO TRACY)

NO, I'M NOT GOING TO LEAVE, SPANKY. I PROMISE I WON'T DESTROY YOUR LITTLE DEAL. BUT I WILL TAKE ANOTHER MARTINI, IF YOU DON'T MIND.

DILLON Q. (V.O.)

IT MAY NOT LOOK LIKE IT, BUT MY MOM AND LUKE ARE PRETTY GOOD TOGETHER. THEY'RE BOTH FIGHTERS, AND THEY BOTH DON'T TAKE NO FOR AN ANSWER. FOR THE UNINFORMED, HERE IS THE RUN DOWN OF MY MOM'S MARITAL HISTORY.

VISUAL: PHOTO-LORD LAWRENCE "LARRY" ASHTON

DILLON Q. (V.O.)

LORD LAWRENCE ASHTON, OR LARRY, WAS HER FIRST HUSBAND. AS MY MOM TELLS ME, SHE WAS ONLY 17 WHEN SHE MARRIED HIM. 'SEVENTEEN, STUPID, AND NAÏVE' ARE HER EXACT WORDS. THIS MARRIAGE PRODUCED A SON, NED, WHO GREW UP IN BOARDING SCHOOLS AND WENT ON TO NOT ONLY BE A GREAT BUSINESSMAN, BUT A DARNED GOOD ROCKER (MUCH TO MY MOM'S DISMAY).

VISUAL: PICTURE-MITCH WILLIAMS

DILLON Q. (V.O.)

THIS IS MITCH WILLIAMS. HE WAS MARRIED TO MY MOTHER BRIEFLY BACK IN THE LATE 70S. MITCH HAD POLITICAL ASPIRATIONS, BUT NOT A LOT OF STAYING POWER. THEY BROKE UP QUCKLY WITHOUT HAVING ANY CHILDREN TOGETHER.

VISUAL: PICTURE-PAUL HORNSBY

DILLON Q. (V.O.)

THIS IS PAUL HORNSBY, MY DAD. MOM DOESN'T TALK ABOUT HIM A LOT. I SUPPOSE SHE DOESN'T WANT TO AROUSE MY INTEREST IN HIM.

VISUAL: HOME MOVIES-PAUL AND TRACY'S WEDDING.

DILLON Q. (V.O.)

I THINK AFTER THE DISASTERS OF LARRY ASHTON AND MITCH WILLIAMS, MOM HAD PRETTY MUCH GIVEN UP ON LOVE WHEN SHE MET PAUL. THEY LOOK HAPPY HERE, DON'T THEY?

VISUAL: HOME MOVIES-**TRACY,** SIX MONTHS PREGNANT.

DILLON Q. (V.O.)

MY LATE GRANDMOTHER, LILA, ONCE TOLD ME SHE THOUGHT MOM HAD NEVER BEEN LOVELIER THAN WHEN SHE WAS PREGNANT WITH ME. MAYBE THEY SAY THAT ABOUT ALL PREGNANT WOMEN. BUT FOR SOME REASON, THE MARRIAGE STAYED TOGETHER UNTIL I WAS ABOUT ONE YEAR OLD, THEN IT FELL APART. PAUL LEFT TO MARRY SOMEONE ELSE, TO START A NEW FAMILY, AND MOM WAS LEFT ALONE WITH ANOTHER CHILD TO RAISE.

VISUAL: HOME MOVIES-**DILLON,** AGE 3, WITH TOY CAMERA TAKING PICTURE OF TRACY.

DILLON Q. (V.O.)

MY MOM DECIDED THAT LETTING NED GROW UP IN BOARDING SCHOOLS HAD BEEN A MISTAKE, SO SHE DECIDED ON A DIFFERENT TACK WITH ME. SHE TOOK ME WITH HER.

VISUAL: PHOTO-**DILLON** AGE 7, IN FRONT OF THE COLLOSEUM.

DILLON Q. (V.O.)

WE LEFT PORT CHARLES SOON AFTER MOM SPLIT WITH PAUL, AND SET OUT TO CONQUER EUROPE. IN 1996, WE CAME BACK TO PORT CHARLES FOR A LITTLE WHILE. THINGS DIDN'T GO SO WELL, SO MOM AND I HEADED FOR SO-HO, IN NEW YORK CITY.

VISUAL: PICTURE-GINO SOLEITO

DILLON Q. (V.O.)

THIS IS GINO SOLIETO, HUSBAND NUMBER FOUR. THE LESS SAID ABOUT HIM, THE BETTER. MOM AND GINO WERE MARRIED LESS THAN 48 HOURS. GINO DIED OF A HEART ATTACK ON THEIR HONEYMOON. BUT HE LEFT MOM HIS BUSINESS. LET'S JUST SAY, IT WAS AN INTERESTING PHASE OF HER PROFESSIONAL LIFE.

VISUAL: **TRACY**, MEETING WITH **ALAN**, **NED,** AND **EDWARD** IN THE LIVING ROOM OF THE QUARTERMAINE MANSION. **TRACY** AND **EDWARD** ARE STANDING, C., WHILE **NED** AND **ALAN** ARE SEATED ON THE COUCH.

EDWARD

YOU HAVE DONE A LOT OF THIGNS IN YOUR TIME, TRACY--

TRACY

I LEARNED FROM THE BEST, DADDY. NOW THERE'S NO NEED TO THANK ME--

ALAN

THANK YOU? THIS IS JUST ANOTHER OF YOUR SCHEMES TO WREST CONTROL OF ELQ AWAY FROM WISER MINDS.

TRACY

I'M TRYING TO SAVE ELQ, ALAN, WHICH YOU'D KNOW IF YOU'D SOBER UP LONG ENOUGH TO--

NED

THIS ISN'T RESOLVING ANYTHING.

EDWARD

YOUR MOTHER ISN'T CONCERNED ABOUT RESOLUTION, NED. SHE ONLY CARES ABOUT HERSELF.

TRACY

I CARE ABOUT THIS FAMILY, DADDY. ALL I EVER DO IS FIGHT FOR THIS FAMILY, AND NOBODY EVER SEEMS TO NOTICE.

ALAN

IS THAT HOW YOU CARE ABOUT THIS FAMILY, TRACY? BY SCHEMING AND CONNIVING?

TRACY

THIS PLAN WILL WORK. YOU JUST HAVE TO TRUST ME.

EDWARD

HA! I'D SOONER TRUST A SNAKE.

VISUAL: PAN TO **DILLON**.

DILLON Q.

NOW MIGHT BE A GOOD TIME TO INTERJECT A LITTLE BIT ABOUT GRANDPA EDWARD. MOM AND GRANDPA HAVE ALWAYS HAD A BIT OF A TENUOUS RELATIONSHIP. MY GRANDMOTHER LILA WAS THE PEACEMAKER OF THE FAMILY, BUT SHE DIED IN 2004. IT HIT MY MOM PRETTY HARD.

VISUAL: THE GROUP HAS PAUSED, EACH AVOIDING THE OTHER AS THEY SEETHE IN SILENCE.

DILLON Q. (V.O.)

THERE ARE ONLY TWO THINGS MY GRANDFATHER HAS EVER REALLY CARED ABOUT--HIS BUSINESS, ELQ, AND MY GRANDMOTHER LILA.

VISUAL: PHOTO-LILA QUARTERMAINE.

DILLON Q. (V.O.)

MY GRANDMOTHER WAS THE ONLY PERSON IN THE FAMILY WHO EVER GAVE MOM A BREAK. EVEN SHE WOULD GET FED UP WITH HER, BUT FOR THE MOST PART, SHE WAS THE GLUE THAT HELD US ALL TOGETHER.

VISUAL: PHOTO-LUKE SPENCER

DILLON Q. (V.O.)

OH, I ALMOST FORGOT. HUSBAND NUMBER FIVE, LUCAS LORENZO SPENCER, AKA LUKE. HE AND MOM HAVE BEEN MARRIED ALMOST A YEAR AT THE TIME OF FILMING. THEIRS IS A COMPLEX RELATIONSHIP.

VISUAL: **LUKE** AND **TRACY**, IN A HALLWAY AT THE QUARTERMAINE MANSION.

LUKE

YOU KNOW, MY PRETTY PINK POPSICLE, EXACTLY HOW WE CAN RESOLVE THIS.

TRACY

NOT TODAY, SPENCER. I HAVE OTHER THINGS ON MY MIND. DILLON, DO YOU HAVE TO FILM EVERYTHING I DO?

LUKE

FILM ON, YOUNG SPIELBERG. DOCUMENT THIS MOMENT SO THAT IT MAY LIVE ON IN GLORY.

TRACY

YOU KNOW, HE HAS ENCOURAGEMENT ENOUGH WITHOUT YOU MAKING IT WORSE. DILLON, I GAVE MY CONSENT FOR THIS LITTLE PROJECT ON A NEGOTIABLE BASIS. I'M NEGOTIATING NOW. STOP FILMING.

VISUAL: CUT TO **LUKE** TOSSING A BALL TO A GOLDEN LABRADOR ON THE GROUNDS OF THE QUARTERMAINE ESTATE.

DILLON Q. (V.O.)

GROWING UP, I USED TO WATCH T.V. AND SEE THESE DADS PLAYING BALL WITH THEIR KIDS. I USED TO FANTASIZE ABOUT HAVING A DAD WHO'D THROW ME A BALL, OR TAKE ME CAMPING. I SPENT A LOT OF TIME EATING ROOM SERVICE AND WATCHING MOVIES, SO I HAD QUITE THE OPPORTUNITY TO DEVELOP THIS IDEAL IMAGE ABOUT WHAT A DAD SHOULD BE.

VISUAL: **LUKE** AND **TRACY** IN THE STUDY. SHE IS WORKING, HE IS READING THE PAPER. THEY ARE STUDIOUSLY IGNORING EACH OTHER.

DILLON Q. (V.O.)

IT SOUNDS CRAZY, BUT LUKE IS REALLY THE BEST GUY MY MOTHER HAS EVER BEEN WITH. AT LEAST, THE BEST I'VE EVER SEEN. HE BRINGS OUT A PLAYFULNESS IN HER--KIND OF LIKE A LIONESS PLAYING WITH A GAZELLE, BUT IT'S STILL PLAYFUL. HE'S STRONG ENOUGH TO STAND UP TO HER, AND HE SEEMS TO REALLY ENJOY THE BATTLE OF WITS THAT COMPRISES THEIR RELATIONSHIP.

VISUAL: **TRACY** IS TALKING TO **ALICE** ABOUT THE CHARITY EVENT SHE IS PLANNING.

TRACY

I DON'T CARE WHAT MR. LUKE SAYS. WE ARE GOING WITH THE BALUGA, AND THAT IS THAT.

ALICE

THAT IS NOT THAT.

TRACY

I CAN HAVE YOU FIRED.

ALICE

YOU CAN'T HAVE ME FIRED, AND YOU KNOW IT.

TRACY

WHERE WERE YOU TRAINED, ANYWAY? THE LONGSHOREMAN'S ASSOCIATION?

ALICE

MR. LUKE HAS EXCEPTIONAL TASTE IN FOOD.

TRACY

MR. LUKE DOESN'T SIGN YOUR PAYCHECKS.

ALICE

NEITHER DO YOU.

**ALICE** EXITS. **TRACY** TURNS TO FACE CAMERA.

TRACY

DILLON!

DILLON Q.

SORRY, MOM.

VISUAL: **TRACY**, IN HER BEDROOM. SHE IS PUTTING ON HER MAKE-UP, DRESSED IN A BLUE SATIN ROBE. HER HAIR IS WET, AND SHE WEARS ONLY BASE. SHE SEEMS UNAWARE OF THE CAMERA, AND WE CATCH HER IN A RARE UNGUARDED MOMENT.

AUDIO: HOME BY THE DIXIE CHICKS

DILLON Q. (V.O.)

I'VE WATCHED THIS PARTICULAR ROUTINE SO MANY TIMES I CAN'T EVEN COUNT THEM ANYMORE. MY MOM AT HER MAKE-UP MIRROR, PREPARING TO GO OUT. OR STAY IN, IF SHE WAS THROWING THE PARTY. I USED TO LIKE TO WATCH HER WHEN I WAS LITTLE; IT WAS SORT OF A MAGICAL THING FOR ME, THIS TRANSFORMATION FROM REAL PERSON TO TRACY QUARTERMAINE. OH, SHE WAS ALWAYS "TRACY QUARTERMAINE," NO MATTER WHO SHE WAS MARRIED TO AT THE TIME.

VISUAL: **TRACY** BEGINS APPLYING EYE SHADOW.

DILLON Q. (V.O.)

SHE IS THE STRONGEST PERSON I'VE EVER KNOWN, AND I SOMETIMES THINK I BARELY KNOW HER AT ALL. I WATCH HER PUT ON HER MAKE-UP, PUT ON THE JEWELRY, AND IT'S LIKE ARMOR. THERE'S THIS CHANGE THAT HAPPENS, NOT JUST HER APPEARANCE, BUT, WITH EACH BIT OF COLOR, EACH DROP OF PERFUME, SHE SEEMS TO BE CREATING THIS IMAGE SHE WANTS TO PRESENT TO THE WORLD.

VISUAL: **TRACY** PAUSES TO CONSIDER HER EYESHADOW, NOTICES A WRINKLE AT THE CORNER OF HER EYE, TRACES HER FINGER ALONG THE WRINKLE AS SHE STARES.

DILLON Q. (V.O.)

WHEN I WAS FIVE YEARS OLD, WE WERE LIVING IN GERMANY AND I FELL AND BROKE MY ARM. MOM BARELY SPOKE GERMAN AT ALL, AND HER BOYFRIEND AT THE TIME DIDN'T WANT TO BE BOTHERED WITH A TRIP TO THE EMERGENCY ROOM. I REMEMBER HOW SHE FOUGHT WITH THE NURSES IN THE HOSPITAL, HOW SHE MADE THEM UNDERSTAND THAT I WAS HER CHILD, THAT I WAS HURT, AND THAT THEY **WERE** GOING TO TAKE CARE OF ME.

VISUAL: **TRACY**, EYES CLOSED, NO LONGER LOOKING AT HER REFLECTION, PAUSES FOR A LONG MOMENT BEFORE CONTINUE ON TO APPLY HER BLUSH AND LIPSTICK. SHE IS SLOWLY TRANSFORMING INTO THE WOMAN WE'VE SEEN, THE POWERFUL, AGRESSIVE FEMALE WHO MAKES HER OWN WAY IN THE WORLD.

DILLON Q. (V.O.)

EARLIER THIS YEAR, A MUTANT STRAIN OF ENCEPHOLYTIS HIT PORT CHARLES AND I GOT SICK. MY MOTHER, ALONG WITH LOTS OF OTHER PEOPLE, WAS STUCK IN QUARANTINE AT GENERAL HOSPITAL.

VISUAL: **TRACY** HAS ALMOST COMPLETED THE APPLICATION OF HER MAKE-UP. SHE PUTS ON HER MASCARA AND CURLES HER LASHES. SHE TURNS L., CHECKING HER PROFILE, AND THEN BLOTS HER LIPSTICK WITH A TISSUE.

DILLON Q. (V.O.)

SHE WAS AT MY SIDE MOST OF THE TIME I WAS SICK; BUT EVERY ONCE IN A WHILE, SHE'D JUST VANISH. IT USUALLY HAPPENED RIGHT AFTER SHE'D SAID SOMETHING KIND, OR WHEN SHE LOOKED LIKE SHE WAS ABOUT TO CRY. MY MOTHER DOESN'T TOLERATE WEAKNESS IN HERSELF; AND IN THE QUARTERMAINE FAMILY, TEARS ARE WEAKNESS.

VISUAL: **TRACY** BRUSHES HER HAIR, AND BEGINS TO PUT ON HER EARRINGS.

DILLON Q. (V.O.)

THERE ARE A LOT OF CHALLENGES TO GROWING UP WEALTHY IN AMERICA. IT'S HARDER, I THINK, IF YOU'RE A WOMAN AND YOU'RE SMART. MY MOTHER HAS BEEN CALLED A BITCH, A LIAR, A SCHEMER, AND A CROOK. SHE'S BEEN DISOWNED AND CHEATED ON, FEARED AND HATED, MOST OFTEN BY HER OWN FAMILY. BUT I KNOW, MORE SURELY THAN I KNOW ANYTHING ELSE, THAT HER MAIN CONCERN HAS ALWAYS BEEN THE QUARTERMAINE FAMILY. IT'S LIKE A DRUG TO HER, AN OBSESSION. NOBODY CAN TELL ME SHE'S NOT PUT HERSELF OUT FOR THIS FAMILY.

VISUAL: **TRACY** EXAMINES THE FINISHED PRODUCT, SMILING AS IF PRACTICING. SHE TURNS AND, FOR THE FIRST TIME, REALIZES THAT SHE IS BEING FILMED.

TRACY

NOBODY WANTS TO WATCH ME PUTTING ON MY MAKE-UP, DILLON.

DILLON Q.

YOU LOOK BEAUTIFUL, MOM.

VISUAL: **TRACY** SMILES. HER EXPRESSION IS RELAXED, WARM EVEN.

TRACY

ARE YOU COMING TO THE PARTY?

DILLON Q.

I DIDN'T KNOW I WAS INVITED.

TRACY

ONLY IF YOU PROMISE NOT TO BRING THAT THING. OR AT LEAST, KEEP IT OFF OF ME DURING THE PARTY.

DILLON Q.

UH, MOM? YOU'RE THE STAR OF THE PICTURE, REMEMBER?

TRACY

(LAUGHS)

YOU KNOW, THERE'S STILL TIME TO PICK A REAL CAREER...

DILLON Q.

NOT A CHANCE.

VISUAL: **TRACY** STANDS. SHE REACHES FORWARD TO TOUCH **DILLON'S FACE** (OFF-CAMERA)

TRACY

DON'T STAY UP TOO LATE, SWEETHEART.

DILLON Q.

I WON'T, MOM.

VISUAL: **TRACY** LEAVES THE BEDROOM AND HEADS DOWN TO THE PARTY.

AUDIO: HUSH, HUSH, HUSH BY PAULA COLE (UNDER NARRATIVE)

DILLON Q. (V.O.)

I USED TO DREAM ABOUT HAVING A NORMAL FAMILY WHEN I WAS LITTLE. I THOUGHT MOTHERS WERE SUPPOSED TO BE LIKE CAROL BRADY, LIKE HARRIET NELSON. I USED TO WONDER WHAT I'D DONE TO BE SADDLED WITH A MOTHER LIKE THE ONE I HAD.

BUT AS I'VE GROWN OLDER AND LEARNED MORE, I'M STARTING TO SEE HER NOT JUST AS MY MOTHER, BUT AS A REAL PERSON FIGHTING SOMETIMES OVERWHELMING ODDS. A PERSON WHO MIGHT NOT ALWAYS MAKE THE RIGHT CHOICES, BUT WHO ALWAYS, ALWAYS CHOSE HER OWN PATH.

LIFE WITH MY MOTHER HAS NEVER BEEN WHAT YOU WOULD CALL CONVENTIONAL. AT TIMES, I'VE HATED HER; AT OTHER TIMES, I'VE FEARED HER. BUT MORE OFTEN THAN NOT, I'VE LOVED HER. MAYBE IT'S THE FILMMAKER IN ME--I'VE LOVED THE DRAMA, AND I'VE LOVED THE LARGER THAN LIFE QUALITY SHE BRINGS TO HER WORLD, AND MINE. SHE'S MADE HER WAY IN A MAN'S WORLD, AND HAS COME OUT ON TOP MORE OFTEN THAN NOT. WHEN THE WORLD TOLD HER TO LIE DOWN, SHE STOOD TALL; WHEN HER FAMILY TOLD HER SHE WASN'T WORTHY, SHE HELD HER GROUND.

LIFE WITH MY MOTHER HAS NEVER BEEN THE STUFF THEY MAKE SITCOMS OUT OF, NOR IS IT SOMETHING THAT WILL EVER MAKE IT ON TO THE FAMILY CHANNEL. IT AIN'T PRETTY, IT AIN'T SWEET, BUT IT'S REAL.

VISUAL: **TRACY** COMING DOWN THE MAIN STAIRWELL OF THE QUARTERMAINE MANSION. SHE LOOKS RADIANT, DRESSED IN FORMAL ATTIRE, THE PICTURE OF COMPOSURE AND ELEGANCE. SHE PAUSES IN FRONT OF THE MIRROR TO CHECK HER APPEARANCE, THEN HEADS TO THE MAIN ROOM WHERE THE PARTY IS JUST STARTING. THIS IS THE SAME PARTY SEEN EARLIER IN THE FILM.)

DILLON Q. (V.O.)

WE'VE COME A LONG WAY FROM SO-HO AND HOTEL ROOMS ACROSS EUROPE. AND WHILE I KNOW WE'LL NEVER BE TOGETHER LIKE THAT AGAIN, IT KIND OF FEELS LIKE WE'RE ALWAYS TOGETHER. MOM AND ME, FIGHTING THE GOOD FIGHT. OR AT LEAST, THE FIGHT.

TRACY

(TURNS TO CAMERA)

I ASKED YOU NOT TO BRING THAT CAMERA TO MY PARTY, DILLON.

DILLON Q.

JUST A FEW ESTABLISHING SHOTS, MOM. JUST TO SHOW THE PEOPLE HOW THE OTHER HALF LIVE.

TRACY

(LAUGHING)

IF YOU SHOWED THEM HOW THE OTHER HALF REALLY LIVED, THEY'D NEVER BELIEVE YOU.

VISUAL: ZOOM OUT FROM FULL SHOT OF **TRACY** JOINING THE PARTY. THE MANSION IS GORGEOUS--PARTY DECORATIONS, CRYSTAL, SILVERWARE, AND MUSIC BRIGHTEN THE ATMOSPHERE.

DILLON Q. (V.O.)

IT'S NOT SO MUCH WHERE WE LIVE THAT MATTERS, BUT THE WAY WE LIVE. MY MOM ONCE TOLD ME THAT LIFE WASN'T NEAT AND CLEAN THE WAY IT WAS IN THE MOVIES. SHE TOLD ME IT WAS MESSY, AND INCONVENIENT, AND EXPENSIVE. SHE TOLD ME THE ONLY WAY TO SURVIVE WAS TO LIVE YOUR LIFE AT FULL SPEED, TO LOVE WITHOUT FEAR, AND TO TAKE MATTERS INTO YOUR OWN HANDS.

SHE'S A WISE WOMAN, THIS WOMAN OF MEANS, THIS BITCH QUEEN SPOILED PRINCESS OF A CORPORATE LIONESS. SHE'S ALSO THE ONLY MOTHER I'VE GOT, SO I THINK I'LL KEEP HER.

VISUAL: EXTERIOR OF THE MANSION AT NIGHT. THE MOON IS FULL AND THE SKY FULL OF STARS.

AUDIO: MUSIC SWELLS AS WE

FADE TO BLACK.

ROLL CREDITS

VISUAL: SIDE BAR TO CREDITS. **DILLON.**

DILLON Q.

OH, ARE YOU STILL HERE? I THOUGHT YOU MIGHT BE INTERESTED TO KNOW—REMEMBER THAT BUSINESS DEAL MOM WAS FIGHTING WITH THE FAMILY OVER? WELL, SHE LOST THE FIGHT. AND THE COMPANY LOST MONEY, JUST LIKE SHE PREDICTED. DID ANYBODY GIVE HER CREDIT FOR BEING RIGHT? UH, NOPE. BUT AT LEAST SHE LOOKS GREAT ON CAMERA! BYE.

BLACK

ROLL TITLE: THE END

A WOMAN OF MEANS/QUARTERMAINE-HORSBY/18


End file.
